The 1965 film was a masterpiece, detailing of the life of Michelangelo and his relationship with his patron Pope Julius II. It was my first introduction to Michelangelo and began my sincere appreciation to this day.
The title has always intrigued me. It describes a vast amount of emotional range, almost the perfect picture of bipolar. It’s no accident that an artist can feel this ecstasy so deeply, and sometimes so quickly. After hours of working in stone, ecstatically carving just the right line, then a miss hit with chisel, and a chunk flies off into the corner. The agony comes even quicker. I have experienced this first hand. Well, maybe not the ecstasy, but certainly the agony.
This range of emotion is not for the faint hearted, and for some it is crippling. What has been intriguing me lately is the more common and less dramatic range of comfort and discomfort. It is the lesser cousin of agony and ecstasy.
I’m comfortably walking to the store. I feel a chill because my jacket is unzipped, this makes me discomfortable. I zip the jacket and it is resolved, I am again comfortable. I sit in my recliner expecting the comfort of raising my feet, only to find that my wallet is poking my right butt cheek. I adjust it and I’m back to being comfortable.
This is generally the case, comfort can come quite easily. All one must do is remove the source of discomfort. I’m not sure that ecstasy is created by removing agony.
I think perhaps the potential ease of being comfortable is the trap that causes so many people to chase comfort with such vigor. Ecstasy is so far away, too much effort, but comfort? Comfort is just a simple adjustment. Why not be comfortable 100% of the time?
That is a reasonable question! And take a look at the efforts of most folk to be more comfortable. The opioid crisis doesn’t come from the desire to remove pain. It comes from the desire to attain comfort. Alcohol is perhaps the first historical example of seeking comfort. Even Noah succumbed to the desire. Life was harsh, why not grow a few grapes and remove the discomfort with the fermented juice?
I suppose the answer to the basic question is… Would Noah have built the ark if he had fermented the grapes first? Metaphorically, if he didn’t build the Ark, there would be no people. That’s a fairly large consequence to the desire for comfort.
I have taught art for many years and have experienced the creative process of thousands of students. Mostly it is hard work and persistence. Often it is breathtaking. Some of the most breathtaking have been from students describing their concepts beforehand. Sometimes this conversation is just “smoke talk”, from students who regular smoke a little creative encouragement. Unfortunately the art concept never finds reality, except as smoke.
The projects that get done are the result of dedication, planning, and painful practice. Musicians are used to this practice, visual artists also need training to master their tools, so we call them “studies”. Hehe, I guess writers call them blogs.
The point is that creative folks understand that discomfort is part of the process of bringing art to life. So many other examples exist, that I’m a little confused why discomfort is so avoided. Maybe it is an issue that our lives aren’t bouncing between comfort and discomfort. Maybe we spend far too much time in the region between, “the Great Dull Void”, where nothing is done, and nothing is felt.
It’s not that we are comfortable there, we are just not uncomfortable enough to move. The Great Dull Void keeps us captive so that even in our activity we move as automatons. We derive no comfort from work, or social interaction, but it’s not awful either. It’s almost like we are in line, waiting for life to happen.
One of the quotes on discomfort I like particularly well. “Discomfort is very much a part of my master plan.”
Two things that I bring from my life lessons…
1. It may be fine to have milk from “contented cows”, but contentment (comfort) rarely creates art.
2. Often we enjoy the beauty of art, but we don’t see the discomfort behind the creation.
It suddenly struck me one year, that most of the photographs that I really admired were taken by photographers in very uncomfortable places. Not only was there the years of uncomfortable training for the skill, but now they were kayaking in icy Arctic waters to take the one special iceberg image, or hanging out of a plane at high altitude to shoot storm clouds.
It adds to my appreciation to see the possible discomfort behind the beauty.

The Portobello Needs to be Diced
I am alone in Spokane, fending for myself. There is still six inches of snow on the ground. There is a heighten sense for the need to find warmth and food. I have a really nice, comfortable room, but I am in search of food.
Of course this is more than just a travelogue. The take-away is finding the analogy that lays deeper.
I find a grill with lots of hanging lights, giving a warm holiday sort of vibe. And it doesn’t disappoint. It has a varied menu with interesting sandwiches, appetizers and entrees. I’m thinking that my red meat quota for the week is done, and the fish or chicken doesn’t grab me. So, it is either Mac & Cheese or the Portobello Parmesan. I go with the Parmesan. The soup was a tomato basil that made me want a grilled cheese sandwich, but I must accept the Parmesan instead.
It’s funny how some “parings” are based upon tradition and personal life experience. Tomato Soup and Grilled Cheese is probably the most general comfort food that exists. But I’m only half comfortable.
The Parmesan comes in a bowl with a side of baby broccoli. The broccoli was first rate. The bowl was a challenge. On the plate, behind the bowl, was the largest steak knife that I’ve ever seen outside the kitchen. It could have been presented with its own sheath. Hmm, I didn’t order steak, I ordered the mushroom.
Hiding below the marinara was the mushroom. It neatly covered the mozzarella and pasta, being exactly the size of the bowl. I first tried the fork, but the mushroom completely blocked me, only allowing a thin taste of the marinara. It was good, but I needed the mozzerela and the pasta. I also needed the mushroom. I viewed the steak knife with new appreciation.
After briefly considering lifting the mushroom up to scoop the delicious underneath, I picked up the knife, tested the sharpness, and prepared to go to work. It was a disaster.
This mushroom was grilled wonderfully, but it was also resilient to attack. The more pressure I exerted, the more it slid out of the way, causing pasta, marinara and mozzarella to be displaced almost like an eruption. After many tries to cut the mushroom into manageable bites I gave up. I couldn’t see the mushroom anymore, it was buried and laying at the bottom of the bowl.
Not giving up on my consumption, I exchanged the knife with my fork. The broccoli was handled, the Parmesan was eaten. And here is the analogy. Because the mushroom was not professional diced, the pieces that I could fork were larger than normal. The mouthful was at times mostly Portobello, at other times is was pasta and mozzarella, rarely was it the balanced portions were the taste was designed. In the end I ran out of mushroom and the rest of the Parmesan was left uneaten.
Why wasn’t the mushroom diced before serving? The chef was trapped into the cute and creative “covering” quality of the mushroom. True, dicing was also another step, but should I ever order a grilled portobello again, I will ask for the dicing.
Don’t let style or coincidence take you away from the original intent.
(Okay, so maybe at my age I need my steak cut by the chef as well.)